Music supplement for the Lutezine to Lute News 134 (April 2020): Melchior Neusidler part 8 and collected settings of Ich weiß ein stolze Müllerin, Conde claros, Val cerca and Branle de la gavotte plus more sources of music by Jacob Reis
Deutscher Dantz - Hudson 6: Ich weiss mir ein stolze/ schöne /hü[b]sche Müllerin - Ludwig Senfl
The deutsch dantz series continues with number 6 on Richard Hudson's list,[1] the only one identified as a setting of a known lied, Ludwig Senfl's 4-voice Ich weiss ein stolze Müllerin (I know a beautiful/pretty miller).[2] Seven lute versions (H6a-g) are dantz settings of it all but two with a triple time nachdantz (after dantz) and all in German tablature sources - although H6a & b are nearly identical versions in two of Hans Newsidler's prints and H6c & d are identical so the scribe of the manuscript presumably copied it from Heckel's print. The dantz settings, some needing reconstruction, usually retain the two strains of four and ten bars of the lied with the first repeated but the triple time nachdantz vary and extend the B strain. H6h-i are simple two and three part setting of the original lied.
H6a. Newsidler 1540, sigs. B1v-B1v Wayss mir ein hüsche Mülnerin
- Hie folgt der hupff auff - AA4B10-AA8B26 p. 2
H6b. Newsidler Erst 1544, sigs. C2v-C3r Ich wais mir ain stotlze
Mülnerin 13 - Hupff auff - AA4B10-AA8B25 3
= Newsidler 1547, sigs. B4v-C1r Ich wais mir ain stotlze Mülnerin
- Hupff auff
H6c. NL-At 208.A.27, ff. 69v-70r Ich Weis Ein schone Mullerin
etc. LXXVII - SALtarello - AA4B10-AA8B26 4
H6d. Heckel 1556/1562, pp. 129-131 Wider ein schöner Tantz / Ich weysz
mir ein schöne Müllerin - Proportz auff die Müllerin - AA4B10-AA8B26 5
H6e. Jobin 1573, sigs. H1v-H2r Dantz - Nach dantz - AA4B14-AA8B28 6-7
H6f. CH-Bu F.IX.70, p. 254 XLVI Ich weisz mir ein stoltze müllerin - A8B17 7
H6g. A-Wn 18688 (Craus), f. 34r/89r Die Milnerin 8
H6h. D-Mbs 1512, f. 12r Ich waiß ein stoltze Mullerin hd 9
H6i. D-Mbs 1512, f. 29r Ich wais ein stoltze Mullerin hd 8
Melchior Neusidler part 8
The next group of three pieces by Melchior Neusidler are in different tonalities, the fantasia, his most popular judging by the number of surviving sources, in D major, the vocal intabulation, Arcadelt's chanson Souspirs ardens, in F minor, and the Dorisanen Dantz, unique to Melchior's 1574 print, in G major. The fantasia is ascribed to Melchior in four sources but to Fabritio Dentice by Philip Hainhofer, although it is likely to be an error as Melchior claims to have composed the fantasias in his prints. The intabulation of Arcadelt's chanson Souspirs ardans, parcelles se mon ame in Melchior's 1574 print is highly embellished. When comparing all the other sources for lute, I recognised that two less elaborate settings in D-Mbs 266 are concordant versions of his setting and so one of them is included here, from a section of the composite manuscript thought to be copied by Melchior himself. Anonymous settings a minor third lower are also known and one is included here for comparison (MN8app). The dantz is presumably Melchior's arrangement of an existing dantz, although no other music for it is known.
MN8a. D-Mbs 266, ff. 93v-94r Fantasia MN 10-11
Neusidler 1574, sigs. N2v-N3v 44 Fantasia. MN
B-Br II.275 (Cavalcanti), ff. 97v-98r untitled
CH-Bu F.IX.70 (Würstisen)), pp. 53-54 XV Fantasia MN
D-W Guelf 18.7, ff. 203v-204v Phantasia Fabritius Dentici
D-LEm II.6.15, pp. 60-61 Fantasia 12
PL-Kj 40598, ff. 31v-32r Fantasia MN
A-Wn S.M.8967, ff. 4r-6r Fantasia - tone lower
MN8b. D-Mbs 266, ff. 7v-8r Suos spirs ardans 12-13
D-Mbs 266, f. 104v Sou sprardans
Neusidler I 1566, pp. 14-15 Suspirs ardans
= Phalèse & Bellère 1571, f. 42v Souspirs ardans = Drusina/Neusidler 1573, sigs. C3v-C4r Suspir ardans
model:[3] Souspirs ardans, parcelles se mon ame Archadelt RISM 15598
MN8app. S-Uu 87, f. 34r Souspirs ardans l'Archadelt 14-15
texted and melody indicated with dots (red notes here)
cognates: S-Uu 412, ff. 29v-30r Souspres ardens; Le Roy Sixiesme Livre de Luth 1559, ff. 3r-4v Souspirs ardans [index: Arcadet]; Phalèse 1568, f. 43v Souspirs ardans [header: Arcadet]
See E6. S-Uu 412, f. 9v Souspirs ardens par dinton - in C minor Lute News
MN8c. Neusidler Teutsche Lautenbuch 1574, sigs. L2v-L3r
Der Dorisanen Dantz 38 - hupffauff 16-17
Music for Queen Mary continued
Four lute solos dedicated to Mary Stuart, and maybe Mary of Guise or Mary Tudor, were edited for the supplement to Lute News 134 and additional sources of three of them are here. The first was a galliard for the Queen of Scots (Q1a) and a cognate related to it is included here as Q1b although the meaning of the title galliard caled phillida is obscure. Both of them quote the tune of the Spanish romance Conde claros at the beginning and all the variations on this tune that I know are edited below. The second was a Gailliarda la Royne d'escosse, referring to Mary Stuart, although it is in fact a setting of a popular tune known as Val cerca in Italy, and all the versions of it will be found below. The third is Queen Maries Dump and one source was in Lute News 134 and concordant or cognate sources, four for lute and one for renaissance guitar, are here (Q3b-f). The fourth was another Queene Maries Dumpe (Q4), but no other sources for plucked instruments are known.
Q1a. IRL-Dm Z3.2.13 (Marsh), p. 61 Gally: queen Scottes Lute News
Q1b. IRL-Dtc 408/II, pp. 108-109 a galliard caled phillida 18-19
Q2. Phalèse 1568, f. 82r Gailliarda la Royne d'escosse Lute News
Q3a. GB-Cu Add.2764(2), ff. 1r-2r Queene Maries Dumpe Lute News
Q3b. IRL-Dtc 410/I (Dallis), pp. 192-193 untitled 54-55
Q3c. US-Ws V.b.280 (Folger), f. 1r queene Maries dumpe 55
Q3d. IRL-Dtc 408/I (Ballet), pp. 4-5 Queene Maries Dump 56-57
Q3e. cf. GB-Lbl Roy.App.58, f. 54v untitled 57
Q3f. US-NH osborn 13 (Braye), f. 42v-43r pavana - guitar 58
Conde claros
A set of variations on Conde claros was in the supplement to Lute News 135 (C1) and a galliard for the Queen of Scots (Q1) that quotes the Conde claros tune. The remaining settings of Conde claros, three for lute (C2-C4) plus a duet for lutes a fourth apart (C17), six for vihuela (C8, C10-12 & C15-16),[4] five for guitar/gittern (C5-7, C9 & C13)[5] and one for cittern (C14),[6] are included here, grouped according to the notational difference as I described in Lute News, with C2-7 in the form of variations of four bars in triple time found in the English sources and C8-17 in the form of six bars in duple time found in the vihuela sources (the title pages of the prints illustrated here).[7] The sources from France and The Netherlands include examples of both forms and in his Hortus Musarum of 1552 Phalèse created a lute duet (C17) by combining solo variations copied from two solo sets in different keys in the vihuela print of Valderrabano (C15-16).[8] Phalèse reproduced the variations as three bars of six minims instead of Valderrabano's six bars of two minims and introduced a few minor differences. The three English sources (C1-3) are nearly identical except for minor differences in figuration, C2 lacks division 19 (bars 73-76 of C1) and C2 & C3 end with a 6-bar coda in duple time (barred editorially). All three are for a lute with the sixth course tuned down to F, but Mathew Holmes the copyist of C1 used an F on the seventh course in bar 13 probably in error as he uses F on sixth course from then on, so I took the liberty of adapting it for a seven course lute throughout whereas C2 & C3 here retain the scordatura tuning of the sixth course in F. The seventeen settings here are all different (except the concordant English sources C1-3)